"Design for a Stained Glass Window" is a Problem Play, among other things. The Problem is this: should we cling to our most sacred beliefs when we are faced by adversity and even death in doing so? It is not hard to see that the authors of this play, William Berney and Howard Richardson, have stacked the deck on favor of a great big "yes" with a halo over it. But they have done the trick in a good-natured ingenuous manner, and most people will be inclined to overlook the prestidigitation.

The opening scene is York, excommunicated Queen shortly after Pope Pius V excommunicated Queen Elizabeth. After this step it becomes increasingly difficult and dangerous to profess the Roman Catholic faith in England. "Design for a Stained Glass Window" deals with the effects of this pressure on the convictions of several people in the ten years covered by the play's action. Robin Flemming, a tradesman of York, forswears Catholicism and eventually becomes Earl of Hartford a favorite of Elizabeth. His partner, John Clitherow, a prosperous Anglican merchant, wished to leave others alone and to he left alone, but this turns out to be impossible.

Margaret, Clitherow's steadfastly, Catholic wife, engages in a good many church activities deemed treasonable by the Queen. Eventually Margaret's former suitor, now Earl, of Hartford, causes her to be condemned to death when she refuses to give up her beliefs.

The play moves slowly at first, as the authors establish the situation and character relationships. After the first act, it picks up a good deal of speed and dramatic power. The same is true of the acting. Ralph Clanton is convincing, often frighteningly so, as the Earl, a man of almost demoniac evil. Martha Scott and Charlton Heston give rounded, creditable performances as Margaret and John Clitherow. Miss Scott's portrayal of the heroine is not inspiring, but she does an extremely competent job in a part that calls for straightforward acting.

Above all, the script is craftsmanlike, and director Ella Gerber has given it a craftsmanlike production. Stewart Chancy's set is sturdily Elizabethan, and is well suited to the play, Playwrights Berney and Richardson have not written poetry, but a piece of good prose like "Design for a Stained Glass Window" is always welcome.